The linguistics of image and word are distinctive. When images leap to the human eyes, they link the surface of this world to us. Apparently, images do not have to go through barriers like words do; they can go beyond various languages and cultures in a natural manner. One does not need to learn and master certain symbols when looking at the images.

However, considering the inspection and analysis of images, they are more complicated and of subtle dissidence compared to words. The atlas of knowledge and the transformation of symbols are hidden inside the images; all bring viewers into inner scopes that cannot be seen on the surface. Via the subjective inspections, images are shown in new different forms and meanings endlessly, and express the discussion with its original ideas.

Time is considered to be a form of existence by itself. But the knowledge and reflection of time will inevitably lead human beings to their own dilemmas. Time always flies, and it never stops. In the art field, artists attempt to seize the momentary things by creating images in the time flow that can never be rewound, but these efforts will not all go in vain. During the creation, demonstration, observation and interaction, art works divide time into sentimental areas of endless dimensions which exist in perceptions, understandings, explanations, retrospections and expectations.

In some sense, each moment can be infinity. In other words, the future exists in the present. All presentations of things in the future are definitely determined by one specific moment. The complication and subtleness of this logic are gone beyond the area constructed by reason and order. The artistic expressions created in the form of images and the following objects already include endless possibilities and cognitive forms that nurture endless concepts. Wittgenstein once said: “People must keep silent, when facing unspeakable things.”

The great Romantic artist Caspar David Friedrich summed up Romanticism saying “the artist’s feeling is his law”.
The scenery here is not with intense emotion of romanticism; instead, Lin gives it a detached feeling of substance, by intervene the objects calmly. The whole piece consists of three photographs which are taken in the forests in Michigan in America where used to be graveyards of Indian people a hundred years ago.

Lin concerns the space is the fundamental form of an expression of the artwork. She focuses on the experience of creation and rational structure based on senses. The visual experience she intends to offer is the one that leads to a state of vanity. It is inevitable to use factual materials to achieve the purpose; however, Lin prefers to keep a distance from the reality by diminishing material factors as much as possible in her art creation process.

Lin does not wish to see the relationship between her artworks and materials as an objective thing detached from the subject, or an object hung on the wall or put aside. The experience of changes is important to her. She tries her best to stay independent that is absolutely personal in her artwork creations.

“Light” and “space” are keywords in the oeuvre of Li Shurui. She wholeheartedly believes that depending on different cultures and time-periods, the use of “light” and “space” can reflect and shape the needs and mental states of individuals within a specific era.

Shi Zhiying

Shi Zhiying, White Sphere, Oil on Canvas, 30 x 40 cm, 2015

In her most recent artistic creations, Shi Zhiying creates glass beads – with their peculiar sense of substance – into the object of her experimentation. The inspiration for these creations comes from the novel The Glass Bead Game by Herman Hesse. She takes the content and values of human culture in its entirety as the object of her practice, so as to reconstruct the subtle link between the glass bead game (which involves the spiritual implications of the entire universe) and the game rules of the painting praxis. In so doing, she builds on the dimensions of time and space and the pictorial expression of the object’s substantiality, both of which have always been the concern of (her) creative practice.

Song Jiayin

Song Jiayin, Mark, Mixed Material, 68 x 98 x 17 cm, 2016

This work is part of the artwork “You Are The Mark That I Drew with My Nail on The Sky”, and is composed of a group of mixed materials within the relief sculpture. Similar to an excerpt of a novel, it can be part of the plot and also an independent story.

Wu Di’s work features paintings, collages and installations, and often gives out a sense of perceptual conflicts and multiple layers of viewing experiences through the overlaying and collages of images. When religion is interwoven with human misery, the scenes of reality hereby reflected is brimming with a sense of mysticism. The eight pieces of painting/collage are all recently made. Through the organic and ingenious combinations different materials, emptiness and fullness, positivity and negativity, part and whole, continuity and cessation, wander through the classic and the contemporary in a state where conflicts and harmony co-exist, completely breaking through the boundary between painting and photography. By “returning to the origin”, her practice probes into how images are produced, reproduced and viewed and hence can also be seen as the internal process for the symbolization of man as existence. The large-scale installation at the atrium of the gallery space imbues the whole space with a sense of glory and harmoniously fits with the overall architectural space.

The Moon Penny was derived from the Moon and Sixpence written by Maugham. With the prototype of the artist Gao Geng, it narrated Corland who was suddenly stuck on painting and he originally had stable occupation and happy family. He leaf his family, just like being possessed by the “evil”. Moreover, in order to pursue for artistic idea and peaceful soul, he left the civilization world and went far away to the isolated Tahitian Island. Of course, in the novel Maugham gave more imagination on the figure, so that he became an artistic geek who was not allowed to be moved by the world life. The book name came from a joke from a friend, “people often forgot sixpence when they looking upon “the sixpence”, namely opposition of arts and reality.

Therefore, Tahitian became an airship. Five figures in the film hid from the magic, unique and mysterious glass pace to retire from the world. They didn’t communicate by language, their body language and performance also become a kind of rite (such as look up and climb). They tried to get close to the “moon” between levels. What is the
moon? This is the thing that Keru has been confused and the thing she has searched.

艺廊网ArtThat作为独树一帜的生活美学跨界平台，引领从创意到收藏的新风潮。ArtThat is the unique crossover platform of arts and lifestyle to lead a brand new trend from Creative to Collection. 艺廊网ArtThat原创文章欢迎分享到朋友圈。转载请联系微信公众号artthat获取许可。